當初的記憶畫面仍然清晰，2015年末結束與人生第一家畫廊IP Gallery的工作關係，已非展商身份進入當年的台北國際藝術博覽會（2015 ART TAIPEI），那彷彿水面連續性的動態波紋，突然出現在純白展牆上，究竟是哪一間腦度大開的畫廊，以此般非傳統的陳設方式來展示藝術家的作品？有那麼一瞬間，我以為自己並不是在一個商業銷售場合，而是站在一個小型美術館內，仔細端詳展位說明牌後，「常青畫廊Galleria Continua」大概是在那時被寫進我的記憶光譜中。
Everything was so fresh and clear, in late 2015, when I had just finished working with my first gallery – iP Gallery and entered ART TAIPEI 2015 as a non-exhibitor, the dynamic ripples that seemed to be continuous on the water surface suddenly appeared on the pure white exhibition wall. “Which ‘genius gallery’ will present the artist’s creation in such an unconventional way?” For a moment, I thought that I was standing in a pocket art museum instead of a commercial venue. After carefully examining the booth description, “Galleria Continua” was probably written into my memory at that time.
In the last 7 years, I have visited them in various exhibition formats from Rome to San Gimignano, from Paris to Turin. I can feel the gallery’s pure preference and obsession with the art industry from space to space. However, everything is so natural and comfortable, with each planned visit, some unforeseen interludes often occur, and more than admiration and adoration, I am more fascinated by all the pains, sorrows, and arguments hidden behind each paragraph.
穿梭於時空之間美麗的事物
the Beautiful things that travel through time and space
如同希臘神話中的《克爾伯洛斯》三顆頭顱有著相同的目標，馬里歐・克里斯蒂亞尼、洛倫佐・菲亞斯奇、毛里齊奧・瑞吉洛（Mario Cristiani, Lorenzo Fiaschi, and Maurizio Rigillo）代表著常青畫廊的過去、現在和未來，是通往當代藝術未成形領土的守護者。縱觀藝文界，不論組織規模大小、策展團隊組成、展演主題形式，凡是牽扯到「合作」就不會是件容易輕鬆的事情，任何群體必定會有意見衝突的情況發生，無論檯面上是如何的光鮮亮麗，背後勢必是經歷過無數次的妥協與協商，學習與創新的過程存在著。
Just like Cerberus the figure with three heads in Greek mythology, Mario, Lorenzo, and Maurizio represent the past, present, and future of the gallery, the guardians of the unformed territory of contemporary art. Take a panoramic view of the art industry, regardless of the size of the organization, the composition of the curatorial team, or the theme of the exhibition, anything that involves “cooperation” is always not an easy task, any group is bound to have conflicts. No matter how successful and shiny it is on the table, it must have gone through numerous compromises and negotiations, learning, and innovation processes behind the scenes.
However, what are the real reasons for the perseverance of these people who are involved in this industry to stay on this thorny path of art and culture dissemination? Why has the art market could still be able to stand still in the impact of the economic situation in recent years? While purely business interests may be important, unique, and discerning qualities may be necessary. When it comes to the “nature of artistic value”, how to interpret and define it varies from field to profession, gender to age, identity to the role, and motivation to purpose will have different interpretations and criteria.
Visitor: “Quello che mi piace in Galleria Continua è che non ve ne frega di niente, andate avanti con le vostre convinzioni.” Mario: “Per dire la verità, a noi frega un po’ di tutto…”
記憶回溯三個月前，那是一個溫度驟降的夜晚，等待電腦載入幾週前到羅馬旅遊的照片檔案，當中就包含Galleria Continua 常青畫廊，位於羅馬瑞吉酒店一樓展示空間名為“Geometria delle Forme 幾何形式“的聯展影像。一個習慣性的動作，引導自己點擊進畫廊的IG，赫然發現隔一天在聖吉米尼亞諾（San Gimignano）的空間有一場開幕，當下的我立馬寫了封預約信寄到官網，查詢交通方式與時間、訂購車票，一切規劃僅在10分鐘內結束，換來的是因過於興奮而徹夜未眠的狀態。
Let’s rewind time back three months ago, it was a chill night when I was waiting for the computer to load the photo files from the disc of my trip to Rome a few weeks ago, images from a group exhibition entitled “Geometria delle Forme” by Galleria Continua, located on the ground floor of The St. Regis Rome. A habitual action led me to check on the gallery’s Instagram page while waiting, and I found out that there was an opening in San Gimignano the next day. I immediately sent a reservation letter to the gallery, inquired about transportation and time, and ordered a ticket. All the planning was over in just 10mins, and the result was a sleepless night due to the excitement.
San Gimignano, a town in the central hills of Tuscany province, is the cradle of the story of Galleria Continua, a small city-state known today as the “City of Art” that carries the ancient artistic heritage of centuries. Upon arriving at the Poggibonsi station I knew I was on the right track when I met the highly distinctive human structure installation by British sculptor Antony Gormley.
Michelangelo Pistoletto, an iconic artist of the “Art of Poverty” movement in Italy, you can glimpse his popular “Mirror” series even just standing outside the door; Anish Kapoor, the British sculptor who opened a big hole in the floor at Galleria Continua to install his work; Gu Dexin, the Chinese artist who sees the ” Banana ” as a form of imagery of original sin and explores the value of human faith through quantity and time by his concept installation; and which is indispensable, the person who indirectly induced Galleria Continua to expand its horizons in China and worldwide—the presence of Chen Zhen, a Chinese conceptual artist in France, and more than that.
《The Ability of Dream》 一展凝聚66位與畫廊合作過藝術家的作品，共同展示在聖吉米尼亞諾五處空間與公眾形成的沈浸式對話場域。
The exhibition “The Ability of Dream” gathers 66 artists who have collaborated with the gallery from the past and present, forming an immersive dialogue with the public in five spaces in San Gimignano.
當你步入這建構在這古老經典劇院內的當代畫廊，迎面而來的是種穿越時空的既視感。聖吉米尼亞諾的新劇院（The Cinema Teatro Nuovo）是過去當地社區非常熱門的據點，在閒置多年後，因緣際會在Lorenzo的提議之下，經過修繕與維護工程，成為了常青畫廊主要的展覽與辦公空間；位處於水井廣場（Piazza della Cisterna）上的展示空間僅與新劇院步行不到5分鐘的距離，串連起地域與時間的連結；兩處需要專人引導的室內空間，分別鄰近新劇院不到2分鐘的步行距離，白牆紅磚地的地窖環境，星級飯店的頂層區域，保留18世紀的室內設計原貌，簡約單純的格局間隔開每件作品的獨特風格。
When you step into this contemporary gallery built inside this old classic theater, you will be greeted with a sense of time travel. The Cinema Teatro Nuovo in San Gimignano was a very popular location for the local community in the past, and after years of inactivity, it was renovated and maintained at the suggestion of Lorenzo to become the main exhibition and office space of the Galleria Continua. Another exhibit space is located at Plaza Cisterna only need 5-minute walk from the theatre to the place. Other the two interior spaces, each requiring a guide, are both located less than a 2-minute walk from the theatre, one is in a white-walled, red-brick cellar environment and the other one is on the top floor of a high-class hotel, preserving the original interior design of the 18th century, with a simple layout that separates the unique style of each work.
《The Ability to Dream》同時也是由sky Arte和TIWI協同執行的同名紀錄片企劃，由三位創辦人｜馬里歐・克里斯蒂亞尼、洛倫佐・菲亞斯奇、毛里齊奧・瑞吉洛（Mario Cristiani, Lorenzo Fiaschi, and Maurizio Rigillo），作為旁觀者建構出的對話場域為主軸，匯集圖像、記憶和影像，穿插藝術家們、藝評家與整個工作團隊的訪問，流暢且鉅細彌遺地講述「常青畫廊」開辦至今32個年頭的豐富故事。
“The Ability to Dream” is a documentary project co-executed by sky Arte and TIWI, which also shared the same title with the Joint exhibition. It’s a collection of images, memories, and videos, which is interspersed with interviews with various artists, art critics, and the important team members of Galleria Continua. Within the main axis of the dialogues which were constructed by the three founders — Mario Cristiani, Lorenzo Fiaschi, and Maurizio Rigillo as spectators telling the amazing and incredible story of Galleria Continua in its 32 years of operation.
With an uninterrupted and continuous dynamic business model. Based on “Artist-Centered” as the origin of the gallery, hardly harvesting in the field of art and culture for decades, committed to devoting the role as a promoter and curator, and later become the pusher for the careers of many important artists in the whole worlds. What they value more is the quality of creations, maintaining a good relationship with the artists, and having a unique vision of creation itself. More than that, the most important thing is that they help the artists break through the difficulties and impossibilities on the way of creation and build a way of management exclusive to represent “Galleria Continua”.
Mario Cristiani has said in an interview: “The gallery was established with the intention of cultivating interesting and challenging contemporary art in the most unexpected places.”
The interesting thing about art is that it does not set limits to the shape of things, everything is possible! We will benefit from our different identities and roles when we face the creation of art. There are many times when the unconventional attitude can be an effective tool for dreaming, leaving behind the filter of a pre-determined stance, and stepping out of the social framework, and the values and meanings contained in the fruit of a stumble and wash may lead you to transform into something unexpected. They are not trying to define what “ART” is, but to experience the uniqueness of “Artistic Value” through their point of view that transcends Time, Space, Distance, and Form.
— 回到過去Back to the Future：聚焦於1960年代至今，當代藝術先驅們的專題項目，重新將藝術家帶回國際藝術對話的中心。由柏林藝文中心Haus am Waldsee館長—Anna Gritz、義大利獨立策展人—Balthazar Lovay共同策劃，10位藝術家（9間國際畫廊與1間義大利畫廊）。
2020年為因應新冠疫情造成的影響，展會將焦點投注於創建線上影音平台。【ARTISIMMA VOICE OVER】一項全新跨多媒體影音的企劃，今年在Fondazione CampagnIa di San Paolo合作贊助下順利執行，針對參與展會的所有藝術家與藝術工作者們進行廣泛的概述與訪問，透過「Podcase」、「頁面文字」、「採訪影片」等多媒體形式，提供豐富的深度報導，同時也讓其他地區的人有機會遠端參與展會。
今年展會概念為「變革性體驗」，主題核心取自美國哲學家 Laurie Anna Paul (L.A. Paul：耶魯大學哲學與認知科學教授) 2014年在牛津大學出版社發表的書籍文章中提出的概念，所謂「變革性體驗」能夠從根本上改變生活在其中的人，以一種對未知的視角面對，試圖引發一場理性預期的危機，嘗試觸發更多潛藏於各領域尚未被提出討論的觀點與互動。
Oroma Elewa, 2 prints on paper Baryta Hahnemuhle 315 g, mounted on dibond, 2022, Galerie In Situ – fabienne leclerc, photo credit: artissima
（left）Vasilis Papageorgiou, ceramic and steel, 2022, 56*36*2 cm, UNA, photo credit: artissima （right）Dala Nasser, Anemone, 2022, 227 x 202 cm, Lenzuola, federe, tinture a base di ibisco e anemone, cenere, sale, nastro, ossido di ferro, acqua piovana
從展覽首日10/19（三）截至10/23（日），連續五天吸引了超過 40,000名 貴賓與公眾參與首屆Paris+ par Art Basel。展會期間，法國總統—艾曼紐・馬克宏 Emmanuel Macron，法國文化部長—莉瑪・阿卜杜勒・馬拉克Rima Abdul Malak與第一夫人—碧姬・馬克宏Brigitte Macron也花費兩個小時參與活動，仔細聆聽畫廊主們的詳細導覽，馬克宏總統更表示：「巴塞爾藝術展（Art Basel）成功在巴黎重塑了一個真正的國際當代藝術博覽會。」
目前歐洲藝術經紀市場已經被英國退出歐盟一事，受到非常多的衝擊與損失，不管是疫情的肆虐導致低迷的收藏市場，或者是各界畫廊參與兩地的積極度與影響力更是不容小覷。英國脫歐對於藝術銷售事後「退稅」已變成一個值得思考取捨的問題。如今巴塞爾藝術公司取得巴黎大皇宮未來7年的營運權，剛剛旋風結束的藝術博覽會—Paris+ par Art Basel，順利奠定巴黎作為當代藝術市場的中心點，有更多的英美畫廊正在逐步規劃於巴黎市中心擴展更多空間。
Art Basel從瑞士巴塞爾首次延伸到藝術文化重鎮法國巴黎Paris，許多藝術大佬、畫廊主、藏家、藝術愛好者，大家都十分期待本週為期4天（10月19至23日）全新藝博會概念《Paris+ par Art Basel 藝+巴黎》。本屆匯集來自30個國家和地區，一共156間畫廊參與展會，61間於法國已有展示空間，95間則分布在世界各地，其中可見許多世界知名長青畫廊的身影，同時也包括初次參展的畫廊空間一同參與。
「一年一度，巴黎藝術盛事大變革」
法國巴黎大皇宮每年重要的檔期：10月份 FIAC（國際當代藝術博覽會） 與11月份 Paris Photo（國際攝影博覽會）皆由博覽會組織公司FIAC（母公司RX France，隸屬英荷RELX集團） 策劃執行，並在歐洲建立亮眼成績與聲望，一直以來以「法國」當代藝術博覽會之姿與瑞士Art Basel和倫敦Frieze三足鼎立。
巴塞爾全球總監馬克・史畢格勒（Marc Spiegler）曾經於媒體訪問表示，2018至2019年可見藝術產業的緊縮困境，該情況因新冠疫情一路延燒至2021年中後，不少資金投注紛紛退出遊戲，靜觀整體市場動盪與其變化。然而，馬克與集團則反其道而行，在大皇宮提出招摽一案時，大動作加入標案，預計於法國巴黎建立一個嶄新的品牌《Paris+ par Art Basel 藝+巴黎》。
主展場設定於巴黎臨時大皇宮（Grand Palais Èphémère）* 以及戰神廣場（Champ de Mars），區分成兩個展區：「藝廊薈萃」（Galleries）匯集140間知名畫廊，作品以現代、當代藝術為主；「新藝初探」（Galleries Émergentes）由評選團隊挑出16間新晉畫廊，推出藝術家個展形式呈現，共156間藝廊參與。
本週在《Paris+ par Art Basel 藝+巴黎》舉行在即，巴黎周邊許多藝文機構也紛紛共襄盛舉，以多樣的合作型態推出不同主題內容與展演形式的活動項目。即使沒有時間前往大皇宮觀展，亦能夠在遊走巴黎街區時，無意間參與「城藝之旅」（Sites）在巴黎著名地標附近展出25件大型雕塑及裝置作品，藝術帶入生活的展演形式以行之有年，這一次在巴黎巴塞爾團隊的規劃下，藝博會與周邊活動能夠如何進行並會帶出多少持續效應？全都是團隊與整個歐洲大陸、巴黎藝術圈，大家期待發現到的！
“This extraordinary renaissance building has traveled through the centuries to great us here, now, in the twenty-first century – not as a mere host for art but as a co-producer of the exhibitions..”
— 奧拉佛・艾里亞森 Olafur Eliasson
一場展覽最需要的是觀展者的實際參與，伴隨著不同形式的反饋，以構成印象深刻的美學體驗。 What an exhibition needs most is the actual participation of the audience, along with different forms of feedback, to form an impressive aesthetic experience.
When science meets artistic aesthetics, it is conceivable that it could become a dialogue that cannot be stopped, nor needs to be demonstrated or dissected, because their combination will produce wonderful products beyond imagination. The mysterious vortex is slowly moving through the artist’s meticulous plan, one by one, being cleverly created and verified in front of your eyes.
冰島丹麥裔藝術家｜奧拉佛・艾里亞森Olafur Eliasson，首次在義大利最大個展就選在佛羅倫斯當代藝術博物館-斯特羅齊宮Palazzo Strozzi舉辦，以雕塑和大型裝置藝術創造沈浸式體驗與空間聞名全世界，從千禧年代發跡至今在各國知名博物館皆可以看到他的展覽足跡，Netflix上熱門紀錄片《Abstract: The Art of Design》第二季第一集更是專門介紹這位「光之魔術師」。
Icelandic Danish-born artist | Olafur Eliasson, whose largest solo exhibition in Italy for the first time was held at the Palazzo Strozzi one of the important contemporary art museums in Florence, is famous for his sculpture and large-scale installation art creation immersion experience and space, and his footprints can be seen in well-known museums around the world since the millennium. Also, the first episode of the second season of the popular documentary “Abstract: The Art of Design” on Netflix is dedicated to this “Magician of Light”.
Just before now 2022, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WColour spectrum kaleidoscopo 2003, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
Spanning between light, shape, color, time, and space, Olafur Eliasson attempts to reconstruct the present and the past by weaving natural elements throughout the exhibition landscape.
Tomorrow 2022, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
藉由標題「在你的時間裡」(Nel tuo tempo) 可以很直接地理解到整個展覽是以「觀眾」作為核心，建立觀眾與裝置之間的對話，促使其成為作品的一部份。打破博物館/美術館與觀眾之間的規範與界限，一直是藝術家Eliasson創作歷程中主要的研究導向之一；不再以博物館為導向，不過度解釋說明作品，為其建立一個既定的思考方向，而是聚焦於觀眾本身，打造一種身歷其境的體驗裝置，豐富觀者的所有視覺感官。
Through the title of the exhibition “In your time” (Nel tuo tempo), we could directly understand that the entire exhibition is centered on the “audience”, establishing a dialogue between the audience and the installation, and promoting it to become part of the work. Breaking the norms and boundaries between museums and audiences has always been one of the main research directions in artist Eliasson’s creative process; no longer museum-oriented, not overly interpreting the works, but creating a predetermined thinking direction for it. Instead, focusing on the audience itself creates an immersive experience device that enriches all the visual senses of the viewer.
Walking into the 16th century, the historical corridor comes into the huge oval vortex floating in the air, simulating the movement of ocean waves, resembling a figurative sound wave, which is following your wandering steps, replacing the appearance of it passing through the light to reach your pupils.
《Under the water》2022 鋼架、 印花紡織品、再生聚丙烯捆紮帶、單頻燈 steel frame, printed textile, recycled polypropylene strapping, monofrequency lights 11x8m 由藝術家提供 courtesy of the artist
Entering the main exhibition hall on the second floor, the window structure that is previously wrapped in the past, was deliberately included in the work by the artist this time. The light penetrated the glass window surface at that time, and the fine glass craft patterns between the filter panes, the bubble holes were wrapped into the glass structure, and the “traces of time” that could not be seen by the naked eye were once again covered with sunset-like colors to show the elegant and psychedelic posture of the aristocracy in the renaissance.
《Triple seeing survey》2022 投射燈，壁掛 3 spotlights, wall mounts 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
《Tomorrow》2022 投射燈，壁掛，投影布幕，彩色濾光玻璃 3 spotlights, wall mounts, rear-projection screen, color-filter glass 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
《Just before now》2022 投射燈，壁掛，鏡面箔，投影布幕，彩色濾光玻璃 3 spotlights, wall mounts, rear-projection screen, color-filter glass 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
After passing through the projection screen installation, the works in rooms 6, 7, 9, and 10 are the installations that best reflect the natural environment issues in the entire exhibition.
Among them, Room 9 brings out the artist’s most classic and famous work “Beauty”. Through the elements of water and spotlights, a seemingly simple installation is created. In the dark room, the water spray reverberates with the focused light, which is refracted into the pupils of the audience and awakens ” Rainbow”; as the artist puts it: “it is a matter of fluctuating back and forth between two positions: seeing the rainbow, not seeing the rainbow, seeing and not seeing.” No one can see the same rainbow formation, walking into the mist of water and becoming part of beauty.
《Beauty》1993 聚光燈、水、噴嘴、木頭、軟管、幫浦 spotlight, water, nozzles, wood, hose, pump 尺寸因地制宜 dimensions variable 由藝術家提供 courtesy of the artist
Triple window 1999, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WSolar compression 2016, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.WRed window semicircle 2008, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W24 glass spheres 2022, exhibition view at Palazzo Strozzi, Firenze 2022. photo by Gogo.W
The essence of art originates from everyday life, and inextricable relationship between science and nature has shown their complementary roles in many fields, while there are still phenomena that cannot be explained and demonstrated.
Artificial lighting installations and various media: color, water vapor, space, mirrors, with the progress of outdoor daylight, changes in the surrounding environment affect everyone’s participation experience, fully immersed in the installation situation, resulting in a dialogue structure between perspective and time points.
《Firefly double-polyhedron sphere experiment 》2020 不銹鋼、彩色濾光玻璃、玻璃鏡面LED燈、電機、油漆 stainless steel, collour-effect filter glass, gllass mirror LED light,motor , paint 170cm 由藝術家提供 courtesy of the artist
Our understanding of artistic creation depends on the knowledge content of the individual and the fermentation between life experiences. When facing contemporary art, most audiences are overly relying on reading the introduction, the existence of audio-guide, it is undeniable that in the field of conceptual art, a complete analysis and understanding of the motives and ideas of artistic creation is the core; however, the connection between the viewer and the work, that process of viewing experience, is the product of introspection after consumption, which could be video, photo, could be oral feedback, it could be an internal experience connection, or it could be a memory of the moment with companions.
《Olafur Eliasson : Nel tuo tempo》展覽近20件集結歷年重要裝置與2022新作，在斯特羅齊宮基金會的大力協助之下，實踐藝術家對共享體驗與互動裝置的堅持，以不同的展覽型態構思，主要聚焦在觀眾的感官體驗，試圖跨越空間界限和物理限制，將展覽場域打造為一切元素的匯集點。
The “Olafur Eliasson : Nel tuo tempo” exhibition brings together nearly 20 pieces of important installations over the years and news in 2022. With the strong assistance of the Fondazione palazzo strozzi, the practice artist’s insistence on shared experience and interactive installations is displayed in different exhibition types. The concept of state-of-the-art mainly focuses on the sensory experience of the audience, trying to transcend the spatial boundaries and physical limitations, and make the exhibition area a meeting point of all elements.
Olafur Eliasson：Nel Tuo Tempo｜奧拉佛・艾里亞森：在你的時間裡 展覽構思｜Studio Olafur Eliasson 策劃推廣｜Fondazione Palazzo Strozzi 斯特羅齊宮基金會 展期｜2022年9月22日(四) 至2023年1月22日(日) 地點｜Palazzo Strozzi斯特羅齊宮, Firenze 時間｜週一至五10點-晚間8點，週四10點-晚間11點 購票｜全票15歐，優待票12歐（以及其他更多優惠票價，詳情請至官網 https://www.palazzostrozzi.org/en/tickets-opening-hours/ ）
▎outstanding sculptor ｜ Fabio Viale cooperates with the Arezzo city hall to launch a solo sculpture exhibition named “AURUM” , a new exhibit concept: Exploratory Urban Show ▎
“I have always wanted “MARBLE” could become a recognized creative material in contemporary history. Breaking down “preconceived ideas” has always been a feature of my creations, and is also the source of my energy and passion for continuing to create.”
— 法比歐・維亞萊 Fabio Viale
親眼所見亦非真實，唯有近距剖析方能體悟 what you have seen might not be real, only taking a closer look could truly understand the truth.
該展由Guido d’Arezzo基金會與阿雷佐市政府聯合規劃，攜手Le Nuove Stanze文化協會合作舉辦。不將展演空間限制於密閉空間，而是將整座城市帶入擴大展演場域，藝術作品分佈在博物館和城市空間的不同地點 – 從市立現代美術館（Galleria Comunale d’Arte Moderna e Contemporanea） 到 美第奇堡壘（Fortezza Medicea），從聖依納爵堂（Chiesa di Sant’Ignazio）到阿雷佐主教座堂（Arezzo Cathedral ） 。通過雕塑作品地點的安排設置，大幅提升公眾與城市之間的連結度，透過適當的規劃與引導，建構出一場古典與當代共存發酵的「探索式城市展演」。
The exhibition is jointly planned by the Guido d’Arezzo Foundation and the city hall of Arezzo, in cooperation with the cultural association Le Nuove Stanze. Instead of confining the exhibition space to narrow spaces, it brings the whole city into an open displayed area, with works of art distributed in different locations in the museum and urban space – from the Galleria Comunale d’Arte Moderna e Contemporanea to the Fortezza Medicea, from Chiesa di Sant’Ignazio to Arezzo Cathedral (Duomo). Through the arrangement and set on the location of the sculpture works, the connection between the public and the city is greatly enhanced.
“Gold has a seductive power that goes beyond its beauty: it is just like a siren’s song, you could feel its attractive power while you work. it’s existence like marble, which could pull me out of time, to transcend its perfection to openly reveal its dangerousness. “
Fabio Viale, born in Cuneo, Italy in 1975, currently lives in Turino. He began to learn to sculpt marble at the age of 16, and his boundless enthusiasm and hobby for the material led him to design architectural elements and sculpture creations for the Monumental Cemetery of Milan at a young age.
His creations reveal the predicaments and limitations faced by the material “marble” in the artistic context of the past few centuries, he attempts to capture the fusion of historical classics and modern thinking to extend different aspects of the product. Fabio Viale’s exhibition experience has spread all over the world, and its footprints have expanded beyond Italy, China, and Russia to the United States. Recently, it has returned to European countries for public exhibitions. he could be hailed as an international contemporary art creator.
Aurum is translated as “gold” in Latin. In the 16th century, the uprising of Arezzo, Italy, was the name of the city of gold. Precious metal processing technology has accumulated and developed from the Renaissance to the modern industrial period. Many excellent goldsmiths are all craftsmen. All came from this ancient city, and the jewelry products born here were transported to Florence and the Curia Romana in the Renaissance, and the production of religious jewelry also began.
The artist uses “gold” as a medicinal guide to establishing a multi-faceted dialogue space. This time there are nearly 50 sculptures are displayed in this exhibition, each of which is secretly injected with a gram of gold, ingeniously introducing the exhibition theme “gold”. As mentioned above, this kind of flexible and malleable material is inseparable from the history of Arezzo. The creative thinking and material of the work itself are a kind of “conflict minerals”, which the artist experimentally and deliberately established. Communication and dialogue, invisibly linking the time with the viewers, religious myths, object forms, social values, cultural history, and the contradictory reality of today, each reflects a different dimension of human nature towards social criticism and self-reflection.
Fabio Viale AURUM, exhibition view at Galleria Comunale d’Arte Moderna e Contemporanea, Arezzo 2022. photo by Gogo.W
Fabio Viale AURUM, exhibition view at (from un to low, from left to right) Duomo, Fortezza Medicea, Arezzo 2022. photo by Gogo.W
Fabio Viale’s creations are full of suggestive and provocative creative concepts. On the way to exploring the context of classical art and contemporary art, Viale refers to a large number of documents, art classics, modern social viewpoints, etc. The contradictory relationship between them stimulates the difference between classical art and negative stereotypes, and unscrupulously explores the conflicting connection between beauty and evil, he tries to overturn the public’s established impression of “tattoo”, and at the same time explores the possibility of multi-faceted understanding.
Fabio Viale AURUM, exhibition view at Sala Sant’Ignazio, Arezzo 2022. photo by Gogo.WFabio Viale AURUM, exhibition view at Sala Sant’Ignazio, Arezzo 2022. photo by Gogo.WFabio Viale AURUM, exhibition view at Sala Sant’Ignazio, Arezzo 2022. photo by Gogo.W
He chooses daily objects to build up his marble universe | paper bags, paper airplanes, tires, wooden boxes, etc., all carved out of marble. After Viale’s ingenious carving technology, what our eyes see is not what we think, the real existence begins to challenge your brain, and a new creative dimension is born.
Fabio Viale AURUM, exhibition view at Galleria Comunale d’Arte Moderna e Contemporanea, Arezzo 2022. photo by Gogo.W
Fabio Viale AURUM, exhibition view at Galleria Comunale d’Arte Moderna e Contemporanea, Arezzo 2022. photo by Gogo.W
Fabio Viale AURUM, exhibition view at Galleria Comunale d’Arte Moderna e Contemporanea, Arezzo 2022. photo by Gogo.W
“I have always sought out new solutions, often creating more innovative methods for materials from a technical point of view, and at the same time I want to make “marble” a recognized creative material in contemporary history. I committed to breaking the “preconceived” stereotypes, It has always been a feature of my work, it shows the duality of the work of art, which is the source of my energy and passion for continuing to create.”
Whether it’s recreating classic sculptures, recreating exotic material structures, or transcending intuitive prejudices, genres, and artistic genres, it becomes an alternative medium. The possibilities of marble sculpture have been raised to another level by the outstanding hands of Fabio Viale.
Fabio Viale Aurum｜法比歐・維亞萊・黃金 策劃人｜Lorenzo Cinatti 展期｜即日起，至 2022年9月30日地點｜阿雷佐市五個地點＞Galleria Comunale d’Arte Moderna e Contemporanea 、Fortezza Medicea、Chiesa di Sant’Ignazio、Arezzo Cathedral(Duomo)、San Domenico 時間｜週一至五11點–晚間7點，週六日/國定假日10點–晚間8點，週二休館 購票｜全票8歐，Arezzo市民享有優待票價售票處｜Galleria Comunale d’Arte Moderna e Contemporanea 以及 Fortezza Medicea
CiaoGogoWang 